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Sonic Foundry's Acid Pro is widely recognized as the premier loop-assembly tool available for the PC today. Although its interface is not as well suited for live performance as, say, Ableton Live's, Acid's enormous power and real-time processing capabilities make it an ideal tool for music production.

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The new version of Acid adds a significant number of features, including support for more audio protocols, such as ASIO; 5.1 surround mixing; and the ability to use VST Instruments, under the control of MIDI tracks. With those and several other additions and enhancements, Acid moves ever closer to being an all-in-one media-production environment.

We reviewed Acid version 3.0 in the May 2002 issue of EM, so I'll focus primarily on the new features in version 4.0a and mention existing features only in passing.

GET SOFT

Among the major new features of Acid Pro 4.0a is the ability to use VST Instruments in your projects (see Fig. 1). Acid's Soft Synth Chooser will search your hard drive to find all the VST Instrument plug-ins on your system. If you have Instruments scattered among several folders, you can use the VSTi Preferences dialog to identify as many as three locations for Acid to access. You'll also use that dialog to update Acid any time you install a new synth or sampler.

After several attempts, I couldn't get Acid to see all my VST Instruments. Then I tried a tip I found on Sonic Foundry's Web site: I deleted Acid's VST key in the Windows Registry. Everything worked fine on my next attempt.

You can automate Instrument parameters by recording MIDI data directly onto an Acid track (more on MIDI later). In addition, you can add DirectX effects to a synth's output using the same methods you'd use for your audio tracks: adding a Track effect directly to the track, using a DirectX effect with an Assignable effect, or assigning the track to either a sub or the Master bus and applying the effect there — Acid provides lots of flexibility. Building a chain of effects is easy, and once you have a sequence of effects that you like, you can save it for use in other projects.

Speaking of effects, you can now automate the parameters of many effects, including Track EQ, Resonance Filter, and Flange/Wah/Phase. Click on the Track FX icon and select an effect from the Audio Plug-in dialog. Then click on the FX Automation icon, and you'll see the parameters of the plug-in you've chosen. Enable automation for one or more parameters, and when you return to the main Track view, you'll find color-coded envelopes for all the parameters you've enabled. In addition to linear envelope segments, Acid Pro 4.0a supports several new fade types, including fast and slow fades.

MIDI MATTERS

Another major new feature in Acid Pro 4.0a is MIDI recording and editing. You can record in either real time or step time, but there are some limitations. For starters, assuming you want to hear what you're recording, you must route your MIDI controller's input to the soft synth you're playing, by using the MIDI Thru drop-down menu in the Record screen. You can't simply enable a MIDI track for recording and assign that track's output to the synth as you would in a dedicated MIDI sequencer. You also don't double-click on an Event (Acid's name for what some other programs call a clip) as you would in a sequencer to access the data once it's recorded. Instead, you have to click on the track's Track Properties icon, then tab to the Piano-Roll Editor. On the other hand, the data you record is stored in a separate file, which makes using it in another program easy.

Editing features are functional but also somewhat limited. You can only edit controller data in the Event List, and the quantization feature is fairly basic. Besides Cut, Copy, and Paste, you can edit individual Events in the Piano Roll or create new Events, but that's about it. However, if you need more complex MIDI data in your Acid projects, you can easily import existing Standard MIDI Files. Moreover, Acid's painting and drawing tools are especially useful for entering MIDI notes.

Because Acid supports Yamaha's OPT (Open Plug-in Technology) format, you can also use third-party MIDI effects plug-ins, such as those made by GenieSys (www.genevoice.com). Unfortunately, OPT is not the format used by Cakewalk in Sonar and Steinberg in Cubase SX.

Like many other audio programs, Acid Pro 4.0a doesn't let you record the output of a soft instrument as you are playing it. Instead, you must record the MIDI Events that will control the soft synth or sampler, then render the track to a new audio file. The rendering process is much faster than real time, and once it is complete, you can paint or draw Events that play the file directly into the new audio track that will have been created.

I GET SURROUND

Acid Pro's new Surround Panner is a very efficient way to create a surround mix. Choose 5.1 Surround as the Master Bus mode of a new project, and you'll see a small surround-pan icon appear on each new audio track. You can move the track's position in the mix by dragging the icon or by accessing the Surround Panner window (see Fig. 2), which provides a larger surface on which you can create more precise moves.

In the Surround Panner window, you'll find an LFE tab that is used to send the track to the Low Frequency Effects channel. You can assign a low-pass filter (required by some surround authoring systems) to that channel using the Track's Audio Properties. You'll also find a slider to adjust the volume of the center channel, as well as a Smoothness control, which appears if you have keyframes on your track. Keyframes are used to automate a surround track's pan position and are created directly under the audio display in the main track window. Like breakpoints in envelopes, they determine the pan location at a specific point. Acid interpolates the correct values between each pair of keyframes using the same type of fade curves that it offers for stereo panning and volume control. According to the manufacturer, the Smoothness control affects how the sound moves between points on the pan curve. Because I didn't have a multichannel audio card in my review rig (a Pentium 4/2.4 GHz running Windows 98 SE), I couldn't test that feature.

The Surround features are very intuitive and easy to use, though it would be nice if the pan icon moved to reflect the current location of your sound as it plays back. Sonic Foundry has just announced the new 5.1 Surround Plug-In Pack for Acid, an AC3-encoding and DVD-burning utility, which will further enhance Acid's surround capabilities.

GET THE PICTURE

Acid Pro 4.0a adds several new features that will appeal to anyone working with animation or video. For starters, you can now preview video using pixels that are either square (used for computer-monitor viewing) or nonsquare (used for TV viewing). You can also encode a video and accompanying audio track into MPEG-1 format for use on a VCD or into MPEG-2 format for use on a DVD. The default encoding presets are fairly basic, but the optional Professional MainConcept MPEG Plug-In ($99) gives you a wide range of options. And, of course, you can preview video on an external monitor if you have the appropriate hardware.

Acid Pro 4.0a offers a number of other enhancements, such as new pan types (equal power and balance), optimization of the Beatmapper's time-stretching and pitch-shifting algorithms, Windows Media file support, and more customization options for default track properties. In the looping arena, you'll find support for alternate time signatures, from 1/1 to 99/32, as well as new options in the Chopper, which make assembling grooves even easier.

Adding major new features such as MIDI recording and editing and surround sound to a mature program such as Acid can result in a bit of a kludge. But Sonic Foundry has done an admirable job of integrating those new resources in a mostly efficient way. If you're already an Acid user, you'll really appreciate the major new tools that version 4.0a gives you. If you haven't yet joined the Acid community, now is a great time to sign up.

Dennis Milleris an associate editor ofEM.

Minimum System Requirements

Sonic Foundry Acid Pro 40 Serial Number Lookup

Acid Pro 4.0a
Pentium II/300; 64 MB RAM; Windows 98 SE/2000/ME/XP

PRODUCT SUMMARY

Sonic Foundry
Acid Pro 4.0a (Win)
loop sequencer
$499
direct from Sonic Foundry $399
direct download $349
upgrade from 3.0 $149

FEATURES4.0EASE OF USE4.5DOCUMENTATION4.0VALUE4.5

PROS: MIDI recording and editing. VST Instrument support. Excellent surround-panning capabilities.

CONS: Only one video track. Limited MIDI editing.

Manufacturer

Sonic Foundry, Inc.
tel. (800) 577-6642
e-mail customerservice@sonicfoundry.com
Web www.sonicfoundry.com

• Software >Sequencer

Sonic Foundry Acid Pro 7

The user interface of Acid Pro v4 contains all the elements familiar from earlier versions of the software.

With the addition in version 4 of surround sound mixing, ASIO and VST Instrument support and an expanding MIDI functionality, Sonic Foundry are attempting to move Acid beyond its original role in loop-based music creation.

SOS last looked at Sonic Foundry's Acid Pro in January 2002 when, in addition to the core functionality based around pitch- and time-stretching of audio loops, new features included MIDI tracks, a Video window and two new tools: the Beatmapper and the Chopper. While the MIDI features of version 3 could perhaps best be described as 'basic', all the new features were certainly very usable and, despite obvious competition from the likes of Sonar, Acid 3 is an excellent creative tool, either used on its own or sync'ed to a MIDI + Audio sequencer.

A year later, Acid Pro v4 is upon us. It's still a loop-based music creation tool first and foremost, but, aware of both increasing competition and new developments in computer audio (such as an increased interest in surround mixing), Sonic Foundry are continuing to develop the program further. Version 4 therefore includes an impressive array of new features. Topping the list of new capabilities are 5.1 surround sound mixing, step, piano-roll and event-list MIDI editing, ASIO driver support, VST Instrument support and plug-in automation.

Acid Basics

As with most modern music applications, installation of Acid Pro v4 is a largely automated process. The install application also offers the user the option to register the software via the Internet. On the test system this all worked without a hitch. Sonic Foundry's system requirements are pretty basic, a 300MHz processor and 128MB RAM being the key elements. Windows 98SE, ME, 2000 and XP are supported.

Given there are so many new features to consider in this release, it would be a shame to spend too much time here going over the basics of Acid. For those totally new to the software, the reviews of earlier versions are available on the SOS web site. In essence, however, Acid provides a means of adjusting the tempo and pitch of the audio loops in real time. For example, a drum loop recorded at 120bpm can be automatically time-stretched to play back at 100bpm while maintaining the original pitch. Conversely, a bass line recorded with a root note of A can be pitch-shifted to play back with a root of G but without altering its tempo. As described in the earlier reviews, the end result is a system that allows quite complex arrangements of audio loops to be constructed, all with the flexibility of instant pitch or tempo adjustment.

In addition, Acid includes the ability to record audio or MIDI tracks and, while the software's capabilities in these areas are not perhaps as strong as that of a dedicated MIDI + Audio sequencer, they are certainly good enough for more than just occasional use. Add to this an excellent user interface and a host of other features including DirectX effects, video playback and a versatile range of output options, and it is not difficult to see why Acid has carved itself a significant market with musicians and multimedia audio producers. Of course, all these features are still present in version 4.. so what about all the new stuff?

You Are Surrounded

Surround sound mixing is becoming increasingly interesting to project and home studio owners. Acid now supports 5.1 surround sound, and new Projects can be specified as either stereo or 5.1 — although obviously the audio hardware in the host PC will need at least six physical outputs to feed whatever 5.1 playback system is in use. For 5.1 Projects, a low-pass filter can be enabled (with a selection of suitable cutoff frequencies) for tracks assigned to the subwoofer '.1' or LFE channel.

Yu gi oh the duelists of the roses iso free download. In a surround Project, the pan control in each track in the Project can be assigned to either the '5' or to the '.1' (LFE) but not both. This might be considered a restriction if you just want to send the bottom end of your bass or drum track to the subwoofer as well as all of its frequencies to the surround speakers. In the surround Project demos supplied with Acid, Sonic Foundry simply overcome this by having two identical tracks — one panned to the surround channels and the other to the LFE channel — with the volume sliders for each track used to balance them. An alternative approach is to insert a buss and assign the buss output to the LFE. Send levels to the buss from any of the tracks panned to the surround speakers can then be used to control the levels going to the LFE channel.

Double-clicking on the surround pan control for a particular track in the Track List opens a larger version of the surround panner for more detailed control. Individual speakers can be muted if required and, for more control over the use of the front centre speaker, a separate volume slider is provided (so there's plenty of scope for real or phantom centre placement of sounds). Pan position can be automated by using a key-frame system for individual tracks, for either creating smooth movements of sounds or bouncing material around from speaker to speaker. The panner also offers balance and constant-power options.

The whole panning system for 5.1 projects seems to be well implemented and is certainly very easy to use. When a 5.1 project is rendered, Acid can create six mono WAV (or AIFF) files. These could then be incorporated into whatever authoring application is being used to create the finished project, where the audio could bes new OPT (Open Plug-in Technology) standard, so it is conceivable that further improvements to Acid's MIDI facilities could be added in between major version updates.

The piano-roll editor, in particular, is a welcome addition; as well as for editing parts created in real time, it's great for the creation of new parts such as bass lines. As with audio tracks, once a MIDI phrase has been created, it can be looped as required along the timeline. Perhaps the most significant shortcoming of this editor is the quantise function. MIDI events can be quantised to a range of resolutions, but at present, there are no options for groove quantising or 'humanising' a MIDI part — this would be an obvious candidate for enhancement, via OPT or otherwise.

God's generals book free downloads. This comment aside, while Acid's MIDI specification is not going to challenge the likes of Cubase, Logic or Sonar, it is very easy to use and there is enough MIDI functionality to avoid having to sync up a full-blown MIDI sequencer on every occasion a MIDI part is needed. Add a couple of decent soft synths to your setup and Acid 4 will now allow you to easily mix and match these with your palette of audio loops.

What Else?

Amongst a range of other additions and improvements, four are worth a brief mention here. While Acid already provided automation of parameters such as track volume, pan and send levels, version 4 introduces plug-in effects automation. This is not available for all DirectX audio effects, but the v4 package includes a resonant filter, track EQ and flanger/wah/phaser that can be automated. The automation is achieved via the usual envelopes drawn into the Track View. Between them, these three new effects provide some excellent creative options, including a few filter-sweep cliches if required!

The Chopper now allows loops selected from larger audio files to be saved as a new audio file. This is an excellent tool for extracting drum loops from all those audio sample CDs!Another very useful addition is the option for loop cloning within the Chopper. This allows any selected loop region to be 'Chopped to a New Track' and, as part of this process, the loop is saved as a new audio file. This has a number of applications, but one thing it proved very useful for during testing was isolating each drum loop within a track ripped from an audio sample CD. While this could be done in any decent audio editor (including Sound Forge), it is very convenient to have this functionality within Acid itself.

The Video window was an excellent addition to v3, and has undergone some further improvements in v4. Support is now provided for WMV files, while two new rendering options are provided for projects that include video: stretch to fill frame and fast video resizing. The former automatically adapts the frame size of the original video if it is different from the selected output size, while the latter produces faster rendering times for video resizing when top-quality output is not critical.

Acid Pro v4 now also includes support for time signatures other than 4/4, and time-signature changes can be added in the same way as tempo or key changes using markers. While there are a few loop libraries out there that include 3/4 loops, if you are a fond of a little syncopated jazz, you may well have to roll your own. This said, the feature is a welcome addition and very easy to use.

Conclusions

Universal serial bus controller driver windows 7 64 bit hp download mac. I've always liked Acid as a tool for rapidly kick-starting the creative process even if, on occasion, I then sync up Logic for straight audio or MIDI work. The new MIDI and VSTi support in v4 makes Acid much more self-contained — indeed, during the period of the review I completed a couple of small projects using just Acid, where previously I'd have had to use a combination of Acid and Logic. If you are already an Acid user, then version 4 is a very worthy upgrade.

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If you don't currently own Acid, is it a 'must-have' product? This is a more difficult question to answer, as there are now a number of alternative products offering real-time pitch- and tempo-matching of loops. If you also need a well-specified MIDI + Audio sequencer, Cakewalk's Sonar is the obvious competition here, but Bitshift's pHATmatik Pro VST plug-in is another possibility for those using Logic or Cubase. This is a real case of 'horses for courses' but if the majority of your music production is done with audio loops, Acid Pro 4 offers a first-class working environment — powerful, easy to use and, in the right hands, very creative.

Sonic Foundry Acid Pro 40 Serial Number 1

Acid Burns

As we went to press, Sonic Foundry announced a 5.1 Surround plug-in pack for Acid Pro v4, which will provide two functions. First it will implement Dolby Digital AC3 encoding with many user-customisable options over settings such as data rate, sample rate and dialogue normalisation. Second, it will provide DVD burning allowing users to burn 5.1 or stereo AC3 files to DVD (given suitable DVD-R, DVD+R, DVD-RW or DVD+RW hardware). The plug-in pack will be available during November as a downloadable product only, at a suggested selling price of US$399.

Pros

• Still a first-class environment for working with audio loops.
• Excellent new features including 5.1 surround mixing, VSTi and ASIO support.
• Considerable improvements in MIDI support.

Summary

Version 4 brings some significant new features to Acid Pro. For those whose music production is dominated by audio loops, Acid Pro v4 offers a first-class working environment with enough MIDI functionality to cope with many tasks. Surround, VSTi and ASIO support are also very welcome additions.

information

SCV +44 (0)3301 222500.

test spec

• Sonic Foundry Acid Pro version 4.0a build 237.
• Pentium 4 1.6GHz PC with 1GB RAM, dual-booting into Windows 98SE and Windows XP Professional.
• Tested with Echo Mia 24, Yamaha DSP Factory and Yamaha SW1000XG soundcards.